Burdette’s Jonathan Peachum and Miller’s Mrs. Peachum were radiant and emotive, despite the masks, and Gina Perregrino gave a captivating performance as Jenny. The highlight of the show was a funny prison duet between Susanne Burgess, as Lucy, and Kaduce. Following strict COVID protocols, the chamber-sized orchestra, conducted by Francesco Milioto, plays live but from a separate, smaller tent with sound piped into the main tent through speakers. In some places, the singers and the orchestra didn’t link up perfectly.
It’s easy to draw similarities between the fall and spring tent series. Both featured a tried-and-true opera warhorse (“Pagliacci,” “Carmen”) and a more conceptual offering (“The Kaiser of Atlantis,” “The Threepenny Opera”). Like “Kaiser,” “Threepenny” is more of an experimental, artistic event using projected illustrations, video and the aforementioned puppets.
In a sense, The Atlanta Opera’s fall and spring productions have been leading up to this performance. The spirit of Kurt Weill’s opera has been the connective tissue of The Atlanta Opera’s four pandemic operas, but “The Threepenny Opera” proved to be the least thrilling of the lot.
“The Threepenny Opera” might be the final installment of the Atlanta Opera’s pandemic shows, performances that have proved to be extremely successful by embracing pandemic constraints to create new theater. It will be wonderful to see once again opera on a grand scale in the Energy Performing Arts Centre, but Zvulun and company should keep the tent for special occasions.
“The Threepenny Opera”
8 p.m. April 29; May 1, 5, 7, 9. $37.25-$74.50. Cobb Energy Performing Arts Centre, 2800 Cobb Galleria Parkway, Atlanta. 404-881-8885, atlantaopera.org